This is part 12 of “Fuck You, Pay Me,” an ongoing series of posts on writing, editing, and publishing. Read the rest of the series: Part 1: How To Become a Writer in 12 Easy Steps, Part 2: The Pros and Cons of Traditional vs. Indie Publishing, Part 3: Scenes From My Life Writing a Porn Novel, Part 4: Why I Hate Memoirs (but Wrote One Anyway), Part 5: 19 Ways to Make Money as a Writer, Part 6: Letters From Johns Revisited, Part 7: Some of My Favorite Things I’ve Ever Written (Journalism Edition), Part 8: Some of My Favorite Things I’ve Ever Written (Fiction Edition), Part 9: How to Promote Your Book Without Going Crazy, Part 10: The Pornification of My Life, Part 11: How to Be More Creative, Part 12: The Fine Art of Applying to Writing Residencies, Part 13: How to Be a Consultant, Part 14: Cranking the Flywheel, Part 15: Why You Should Have a Newsletter, Part 16: An Excerpt From My Memoir, Part 17: How to Write a Short Story.
Thinking about applying for some writing residencies? This year, I applied to 14. That was … a lot. Now that we’re at the midway point of the year, I thought I’d consider what I’ve learned from the process thus far.
How It Started Back in January, I was updating and tidying my About page on this website, and as I did so I realized how impactful some writing residencies I’d done over the years were. So I thought, well, I should apply to some more this year. Would I get in? Who knows. Surely I wouldn’t if I didn’t try. I poked around on the internet and deduced I would probably apply to around 12 to 14. I’m the kind of person who is good at going full tilt rather than steadily doing something over time, and because the application deadlines for these various writing residencies were staggered over many months, this would also be a lesson in slow progress and sticking to a long-term process over time. By the way, if you don’t know what a writing residency is, you basically go somewhere and write. There are also residencies for artists. It’s a way to devote yourself fully to your project or escape your kids or see what happens when you create in a new space. Some charge money (I only applied to one of these), some pay you a stipend, and some feed you every meal and reimburse you for travel. In any case, over time I developed a list. I would apply to Ucross, Jentel, VCCA, MacDowell, I-Park, KHN, Millay, Monson Arts, Marble House, Headlands, Hedgebrook, Loghaven, Yaddo, and Mesa Refuge. I chose these residencies because they were the best of the best or they were somewhere interesting or they seemed cool.
How It Went There’s definitely a learning curve to applying to writing residencies. By the way, I should start out by saying that there’s a fee to apply to every residency to which I applied, but either all or most will wave that fee — it’s anywhere from I think the lowest was $25 and the highest was maybe $60 because that one was with a late fee and the average is probably $35 — if you ask or share that you have financial needs. At first, you don’t have all the things you need to apply. Without exception, you need some sort of material to submit. It’s pretty common for them to ask for 20 pages of your novel or nonfiction project or whatever thing you’re working on, but some asked for less (I think the most requested was 25 pages). Also, they often want an artist’s statement — like what your work in general as a writer is about — and oftentimes they also want a statement about the work itself — like this novel or what have you is about blah blah blah. I think all of them wanted a bio or some version of it. And then there are various other things like when you can come and if you have any special needs and if you have done other residencies what you have learned from them. Without exception, the ones I applied to do not ask for letters of recommendation but do want contact info for two to three people who can recommend you. Additionally, most of them use either Submittable or SlideRoom to manage the applications, and that makes it easy for you to see on your end what you’ve done and where it’s gone and what the status is.
How It Kept Going To be honest, at the beginning I didn’t do a lot of research on what I was “supposed” to do while applying because I kind of wanted to just figure out for myself. Over time, I did think more and do more research about what does and doesn’t work when applying for a writing residency. The big realization I had which is super obvious but wasn’t at the time was that as the writer applying for the thing you hope to get, you’re very me focused. Is my writing sample good enough? Is my bio impressive enough? Will these people think I suck as a writer and / or human being? Why am I doing this? But at some point I read something written by someone who, you know, reviews these types of applications, and I saw it more from their end. In a way, it’s a lot like applying for a job. It’s not just your skills or your resume, it’s also about whether or not you’re a fit — for their cohort, or their ideology, or their brand. So I tried to be a bit more me and a bit less saying what I thought they wanted me to say. Instead of trying to be perfect and impressive, I tried to show that I was creative and inventive and curious. You are going to be around other writers; I mean, they want to know who you are. Not just how you write.
How It Continues to Go Another thing I discovered that I hadn’t realized beforehand was that a fair amount of these applications are read blind. Which is to say they are read by people who are part of a review jury who are looking at your writing sample that doesn’t have your name on it and doesn’t include your bio. In a way, this is mortifying, like, why did I even spend all those years building out my bio only to have it not matter and what if my work on its own sucks? In another way, it’s great, because it levels the playing field (or makes it more level or at least seeks to do so), and it’s just your work out there, naked and free and exposed and waiting for the chips to fall where they may. I would also like to say that if you are LGBTQ+ or a person of color or are a writer with a disability, I would strongly encourage you to apply, as these writing residencies are very interested in diversifying their residency cohorts. Many of these places have pages on their websites where they show past residents, and you can see there is a wide range of experience levels and identities of all kinds. Writers. And poets. And composers. And artists. And interdisciplinarians.
Where It’s At Right Now As of today, I’ve applied to 14 residencies. I’ve gotten seven nos. Another one put me on a waiting list, and then I was pulled off the waiting list and got a residency. Yay! That made me feel like all the time and energy I had spent was worth it. I have yet to hear from the other six, and some I won’t hear from until the end of the year or maybe even early next year, and some are for residencies that aren’t until next year. The residency I got will take place later this year, and I’m really looking forward to it. I’m so glad I tried because it really helped me act like I believed in myself even when I didn’t feel like I should, it pushed me to position myself as a writer doing important work that says something about the world, and it made me remind myself of all the things I’ve done and have overcome. In any case, I’ll probably apply to more writing residencies next year, but half as many.
In closing, I would like to add that as I was readying to publish this post, I pulled my tea bag out of my mug, and the tag on the end of the tea bag read: “Relate to your greatness and not your weakness.” Nuff said.
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